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Paper 14; Module 05; E Text (A) Personal Details Paper 14; Module 05; E Text (A) Personal Details Role Name Affiliation Principal Investigator Prof. Tutun University of Hyderabad Mukherjee Paper Coordinator Prof. Asha Kuthari Guwahati University Chaudhuri, Content Writer/Author Dr. Sanghamitra Arya Vidyapeeth College, (CW) Dey. Guwahati Content Reviewer (CR) Dr. Lalan Kishore Dept. of English, Gauhati Singh University Language Editor (LE) Dr. Dolikajyoti Assistant Professor, Gauhati Sharma, University (B) Description of Module Item Description of module Subject Name English Paper name Indian Writing in English Module title ‘Indian’ Identity in Question and the Evolution of Indian Drama Module ID MODULE 05 1 Module Five ‘Indian’ Identity in Question and the Evolution of Indian Drama Introduction This module on the evolution of Indian drama traces the course of the emergence of drama by situating it in the larger socio-cultural context. An attempt has been made here to address the larger intellectual framework of self-fashioning and the politics of resistance in terms of negotiating the structures of knowledge, history of imperial domination and the consequent effect on national imaginary. The discussions of major dramas/dramatists aim to help the readers engage with the continuing debate on cultural identity in terms of addressing the material, historical, cultural and semiotic conditions of theatrical performances. The history of Indian English drama gains momentum in the nineteenth century where the history is marked by the production of Shakespearean theatre as well as vernacular plays. As opined by Shanta Gokhale “modern secular drama came to Bombay and Calcutta with the first decades of the nineteenth century when amateur plays were produced by the British residents of these cities. Later, individuals and troupes on their way to or back from Australia and New Zealand would stop there to perform plays written by the popular English playwrights of the day. Secular playwriting in Bengali and Marathi began after the setting up of universities in Bombay, Calcutta, and Madras in the mid-1850s, acquainting students mainly with two streams of drama—the Shakespearean and the Sanskrit. The newfound pride of Indians, both in themselves and in their culture, spurred them to emulate and translate Shakespeare in their own languages. At the same time translations of the classical Sanskrit plays of Kalidasa, Bhavabhuti, and Narayanabhatta were being done in Marathi, Bengali, Assamese, Oriya, Kannada, Telugu, and other languages”( “The Dramatists”, 337). Jogendrachandra Gupta’s Kritivilas, produced in 1852 was the first play in Bengali to emulate the tone and techniques of Shakespearean tragedy and the theme and form of the first original Marathi play, Vinayak Janardan Keertane’s Thorle Madhavarao Peshwe, produced in 1851was borrowed from Shakespeare’s history plays. The importance of Indian languages was visible in all amateur and professional productions as only 2 the college students wrote in English. As we explore, the Pre-Independence predecessors, Sri Aurobindo, Harindranath Chatopadhyay, T.P. Kailasam wrote chiefly on mythical or religious themes but slowly social concerns and reformist themes started to proliferate especially with playwrights like Bharati Sarabhai, J.M. Lobo-Prabhu, Asif Currimbhoy. Gradually the National School of Drama was established in Delhi and the National Drama Festival was started in Delhi by the Sangeet Natak Akademi in 1954. Hence, the field of dramatic performance widened with the intrusion of folk elements to counter the burden of imperial domination and drama became a multi-dimensional tool to democratize ideas of cultural identity, gender issues and Indian theater gave away to newer experiments. Objectives The module is designed to help you read critically the history of Indian English drama understand the important socio-cultural events/contexts instrumental to the history of emergence of drama position the major dramatists in the proper historical context apprehend the major dramatic texts understand the performative and literary concerns of the dramatists Evolution of Indian Drama Beginnings of Indian Drama in English (1857-1920) Krishna Mohan Banerjea’s The Persecuted, or Dramatic Scenes Illustrative of the Present State of Hindoo Society in Calcutta (1831), a debate on the conflict between orthodox Hindu customs and the new visions generated by the Western education is regarded as the first play in English written by an Indian writer. Michael Madhusudan Dutt(1827-73) is known for the plays Razia, Empress of Inde (1858), and Sermista (1859), which are translations from the Bengali. In Ekei Ki Bole Sabhyata (1860, translated as Is This Called Civilisation? in 1971), a farce, he satirizes the 3 elite Bengali gentlemen for whom the discussion on female education in Gyanataringini Sabha merely expresses their hypocritical attitude towards the idea of progress. This play, along with Buro Shaliker Ghare Raon (1860) and Dinabandhu Mitra’s Sadhabar Ekadeshi (1866) contribute to the debate on education. In 1869 Madhusudan translated into English Dinabandhu Mitra’ play Niladarpan (1860), a play on the inhuman exploitation of workers in indigo plantations. Another play of his, Nation Builders, was published posthumously in 1922. Ramkinoo Dutt’s Manipura Tragedy (1839) is also part of the Indian English Drama published in Bengal in the nineteenth century. Between 1891 and 1916, Sri Aurobindo wrote five complete and six incomplete verse plays. Of these, the earliest are two fragments written during his student days in London: The Witch of Ilni: A Dream of the Woodlands (1891) and Achab and Esar. His Baroda period (1893- 1906) is marked by the famous plays The Viziers of Bassora – A Dramatic Romance, Perseus the Deliverer, Rodogune and three fragments: The Maid in the Mill: Love shuffles the Cards, The House of Brut and The Birth of Sin (which appears as a poetic dialogue in Collected Poems and Plays, 1942). Prince of Edur (a revised version of The Prince of Mathura) was written in 1907. The Witch of Ilni and Achab and Esar indicate Sri Aurobindo’s fascination for the trappings and themes of Elizabethan drama. The Viziers of Bassora is based on a story from The Arabian Nights and shows how a pair of young lovers is reunited after a series of trials, through the benevolence of Haroun Al Rasheed, Caliph of Baghdad. His plays are entirely Elizabethan in conception and structure as this play is modeled after Shakespearean comedy. Perseus the Deliverer is ‘a romantic story of human temperament and life-impulses on the Elizabethan model’ and he employs the ancient Greek legend of Perseus and Andromeda to represent the evolution of the human mind from a primitive conceptualisation of the vengeful deity towards the idea of a compassionate and sensitive God. Rodogune is Sri Aurobindo’s only tragedy. The plays of Rabindranath Tagore are: The Post Office, The King of the Dark Chamber, Chitra (1913), The Cycle of Spring (1917), and Sacrifice and Other Plays (1917). All these appear in The Collected Poems and Plays (1936). Red Orleanders is translated by Tagore himself from his Raktakarabi in Bengali. Thematically, his plays can be categorised into two broad groups: thesis plays and psychological dramas. In the first group we may include Sanyasi, The Cycle of Spring, Chitra, Malini, Sacrifice, Natir Puja and Red Orleanders. The second group includes The King and the Queen, Kacha and Devayani, Karna and Kunti and The Mother’s Prayer. In Sansyasi and The Cycle of Spring, the chief idea is the celebration of life. In 4 Malini, Sacrifice and Natir Puja (‘The Court Dancer’s Worship’) religious fanaticism is exposed and maternal love is presented in Karna and Kunti and The Mother’s Prayer. Tagore employs symbolic and allegorical characters in the thesis plays and archetypal in the psychological dramas. Harindranath Chattopadhyay’s Abu Hassan (1918) is a fantasy in prose and verse. His Poems and Plays (1927) contain seven verse plays on the lives of Indian saints: Pundalik, Saku Bai, Jayadeva, Chokha Mela, Ekanath, Raidas and Tukaram. Five Plays (1929) are written in prose and are replete with the socialist concerns of the author. The Window and The Parrot provide unique glimpses into the lives of the poor and the marginal and The Coffin and The Evening Lamp offer an ironical tale of two romantics. The Sentry’s Lantern is a symbolic articulation of the renewed hope of a new era for the downtrodden mass. The Sleeper Awakened is a satire on the evils of modern civilization written in an allegorical manner and The Saint: A Farce (1946) exposes the reality of spirituality and holiness when an opium-addict is mistaken for a holy sage. Kannappan or the Hunter of Kalahasti (1950) is a ‘lyric play’ on the theme of the right of a lowly hunter who wants the permission to enter a temple. Written in eight acts, Siddhartha: Man of Peace (1956) dramatizatises the life of the Buddha in verse and prose. Sarath Kumar Ghose’s The Prince of Destiny (1910); Kedarnath Das Gupta’s Calif for a Day (1916) and Bharata (with Margaret G. Mitchell) (1918) and Dhan Gopal Mukherji’s Layla-Majnu (1916) are significant plays. The most important Madras dramatists of the period was V.V. Srinivasa Aiyangar (1871-1954) who wrote Blessed in a Wife (1911), The Point of View (1915), Wait for the Stroke (1915) and The Bricks Between (1918). Indian Drama (1920-1947) The Pre-Independence predecessors --- Sri Aurobindo, Harindranath Chatopadhyay, T.P. Kailasam continued to write on mythical or religious themes. The tradition continues with Sri Chaitanya (1950) by Dilip Kumar Roy, a verse play in three acts about Chaitanya’s teachings and his conflicts with his family members. Dilip Kumar Roy, in collaboration with Indira Devi, wrote The Beggar Princess (1956), a play on the life of the saint-poet Mirabai. Other playwrights, like V. Srinivasan Aiyangar (1871-1954) is noted for Rama Rajya (1952). Rama Rajya provides a modern interpretation of the Ramayana and to some extent is a critique of the naïve idealism of the post-Independence period in India.
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